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The following article will detail the primary reasons why this program has been listed here as the number one choice for new-coming and experienced Dubstep producers.

Getting To Know BTV Solo:

Instant Download: Thousands of users have jumped on the new version of BTV Solo since it was released for instant download. Soon to be available in a hard copy version in big name music stores, the download permits users to commence making original dubstep songs now, without having to wait for shipping.

By downloading from the official software developer, you can get started in your new career as Dubstep song maker and producer now. The other’s can pay literally four times what you will for BTV SOLO and still be sitting there like lonely puppies awaiting the arrival of the mailman. Anyway, you get the point, the instant download factor is awesome.

Dubstep Made Easy: Even if you have used digital music sequencing software previously, every program is different and does take time to learn how to use effectively. Thanks to detailed tutorials that can be found in the member only area of BTV Solo, you will learn the required production skills and the details of the software, to be competent enough to produce awesome dubstep music in very little time.

Don’t become a statistic, where you spend hundreds of dollars (or even thousands) on a music studio setup and then realize that you are in way over your head, quitting the game out of frustration prior to your first track being completed. – This will not be you with BTV SOLO.

Awesome Sounds: With the latest release of BTV Solo comes thousands of new sounds that were custom made especially for this software only. A vast array of original samples are also included, with heaps of sexy female vocal samples too.

Many of the cheaper (BTV Solo is $39.95) music programs such as BTV Solo can have some pretty dodgy sound quality, however this is not the case here. All the sounds are of the highest quality, which results in cleaner tracks and broadcast quality final mixes.

Mastering: Is something that you do not need to be competent in, as the finalizing and exporting process to make that final track is easy. Bouncing out a completed, release quality song does not take any special knowledge, unlike some programs do. If you so choose, it can be done with as little as a single mouse click, and your HQ .WAV file will be ready and waiting at the desired location.

The reality of having your own tracks is pretty awesome. As soon as you are done you can upload to your site or facebook via soundcloud, sell it online or start pumping it out amidst your own live DJ set (if you’re a live performer).

MAC versions are now available in addition to Windows, so there is no discrimination against your personal operating system. Get more sounds and samples through the official website if you find that you need more than the standard kits.

We will cover other more expensive programs in further articles, but in the interim, go and check out the official website for BTV Solo.

Hospital Records has been a staple of the drum and bass community forever it seems. With London Elektricity running the show, the label has consistently made it through the good times and the bad times the genre has seen with quality releases from quality artists.

One of their latest releases is The Agony & the Ecstasy, an artist album from High Contrast.

Hospital may have lost some of its edge with this one. The tones and textures are heavily borrowing from the pop-synth, electro, borderline-dub fields, and on the initial track High Contrast put an overly sweet jazz-trance-esque vocal over the top, and it’s just too much.

“The Road Goes On Forever” seems to go on forever, and once again the pop-synth squeal gets in the way of what is actually a pretty catchy melody. You start to wonder if Lincoln Barrett has found a comfortable point in his life and lost track of the depth of emotion and conflict that has been in many of his prior releases.

This is his 4th artist album, so maybe he is running out of inspiration on a couple fronts as well, as the structures for all the tracks are viciously formulaic (all the tracks are between 5 and 6:30 and feature string sections and synth lines in about the same places). The vocals on the tracks are beautiful, but there isn’t any counterpoint to the sugar, so you end up getting to much cake, too much epic, and not enough soul.

The production value is spot on, as you would expect from any Hospital release, but this album feels a little loop-centric and rushed, like the details that typically make their releases amazing are just missing. Too much standard MIDI data, perhaps?

“The First Note Is Silent” brings auto-tune into the mix and the song becomes unlistenable after a certain point. A rapidfire snare hit with no variation shows you how lazy the composing is at that point, and the stutter edits are bland and, once again, show a lack of creativity on the songwriter’s part.

“Emotional Vampire,” really? Who thought that title was a good idea, and who let High Contrast release the track itself? It’s easily the worst effort I have ever heard him put into a a song, and even the mix is badly done, with the drums sitting far too in the back with the bass. Just because a song is 172 beats per minute does not make it drum and bass, if there are no drums or bass in it. That’s a tragedy, right there.

This album is a huge disappointment to Hospital Records fans, High Contrast fans, and electronic music fans in general. Just featuring mainstream artists like Tiesto and Underworld does not make a good record, and someone should be fired for not stopping the release, as it makes everyone who worked on the album look foolish. It’s time for that whole crew to do some soul-searching, as an album like that will give the whole genre a bad name.

As we continue to understand the individual elements of Dubstep we will begin to see exactly how Dubstep is composed. This is the continuation of “The Elements of Dubstep pt 1” and will expand on the ideas of the first installment.

Subsonic Bass:

The Sub Bass is incredibly important to any Dubstep maker; this is one characteristic that Dubstep is known for. The idea is to try to make a thick bass which can be achieved by using a 2- oscillator synth to create two separate waves an octave apart. Also through applying a low-pass filter you can tweak the sound to fit your needs.

In order to achieve the “wobble” in the bass you’ll have to use your oscillator and play around with the wave forms. Most oscillators will have three basic wave forms; saw, triangle and pulse. Try combining them and layering them to create unique sounds for your Dubstep arsenal.

Finally you’ll want to play around with the LFO of the waveforms. Try to synchronize the LFO with the speed of the track to not have too many clashing sounds. On the other hand if you find a clash that works…keep it!

Pads and Leads:

The pads and leads you choose for your track will say a lot about your “identity” as a producer. Where the bass of Dubstep is principally the same, the leads are what make the song unique. Some producers play around with more natural sounds while other would use vocoders to produce their own style.

The Pads and Leads would almost be considered the “melody” of the song if we were to compare it with traditional music.

Pads generally are used to fill up the mids of your song where the leads would attack the high end of the sonic spectrum giving it a full sound. If you fail to fill these elements you might have a very “bassy” flat sound to the track that will not appeal to many.

Your pads are carried by your bass, while the leads are carried by the pads. Thus it is vital to find the right balance of sounds in order to have an appealing Dubstep song. Also your leads can be guided by your hi hats, creating emphasis on certain sounds while reducing emphasis on others. For instance if your lead is moving towards a climax you can remove all hi hats right as it climaxes, creating a more significant break before all hell breaks loose.

Creativity:

The final aspect to understand Dubstep comes down to the individual creativity of the producer. Finding your creativity or your sound is the key to becoming a successful Dubstep master. Where some producers like to go completely to the electronic spectrum of sound, others prefer more natural sounds.

It is a good idea to find Dubstep that more closely reflects your own sound and to learn the bases of those producers. Obviously you should try to make your own unique sounds, but by learning from the Pro’s you can always pick up a few tricks here and there.

The sky is limit when it comes to Dubstep and the genre is still pretty young, which means that there is a lot of space to innovate Dubstep.

Cubase has definitely been the talk of the DJ community since its release. Most DJ’s that we have spoken to swear by the program and for good reason.

Cubase takes the normal mundane tasks of audio recording and turns it into a breeze as it does all the heavy lifting for you. Now you won’t be stuck trying to figure out if you have the right tempo between tracks or not, Cubase will take care of all your problems from now on…sort of.

General Overview

In the world of music production software there are a few names that stand out of the crowd, Cubase is definitely one of them. Cubase has truly revolutionized tempo synchronization and aids in meshing everything together without breaking a sweat. Yes the software is quite costly but for anyone who is truly serious about going to the next level, Cubase is the way to go.

You’ll easily dish out $700-$800 USD for this golden nugget, but as I said, if you are truly serious about becoming someone, it’s the way to go. Let’s see what Cubase has inside:

VST Expression 2 ( For anyone really serious about composing and sequencing this is by far one of the best tools out there. Once you get your hands on the complete Cubase experience you will swear by this program as so many others have in the past)

Key Editor (The Cubase Key editor is probably one of the best features where any idea can progressively turn into a master composition. Here is where you’ll do the dicing and splicing of your song and make it reflect that unique sound you have bouncing around in your head.)

Score Editor (Ok let’s say you’d want to throw a live cello into your act, well with the Cubase score editor you’ll be able to map out professional looking scores in no time at all. It’s like music production heaven if you ask me)

Drum editor (As with everything relating Cubase the drum editor definitely push the bars a lot higher than the competition. If you’re looking to take your beats to the next level Cubase will have what you need…guaranteed)

Full integration (Whether it’s a trigger finger or a midi player you’ll have no problems plugging it into Cubase.)

How easy is it?

Cubase is by far one of the easiest music editors to get used to. Cubase takes the tedious tasks of audio recording and does most of the hard work for you, all you’ll have to do is be creative and allow Cubase to do the rest.

What about Dubstep?

Not only will Cubase up your game, it will definitely give you the ability to Dubbify anything you wish. If you want to make that wobbly base really stand out you’ll definitely want to jump in bed with Cubase.

Conclusion

Steinberg has definitely set the bar high for their release of Cubase 6. The only problem that a new comer might face is the price tag attached to the software. If you scout around on the Internet you might be able to find price tags around the $800 marker. Either way if you are serious about upping your game, Cubase is the way to go! Visit the official website for more information: http://www.steinberg.net